This is an outstanding 4K release of one of Romero’s most pleasurably rewatchable films.
Shout! Factory’s impressive disc honors the film with a restoration transfer and a slew of meaty extras.
The Fog is pivotal to the cementing of director John Carpenter’s aesthetic.
Jax spends much of the episode trying to mend the bursted gangland seem that he was entirely responsible for opening.
It’s not even made clear whether the machines can feel pain. But after sitting through Fire & Rescue, interminable even at a lean 83 minutes, I sincerely hope they do.
A subversive detective story, this atmospheric film is proven more so in Warner’s beautiful upgrade.
The film is impossible to take seriously as a commemoration of Moultrie’s life or Allen’s prolific status because of its plethora of contrivances.
The extras on this DVD edition are compromised of a mixture of the old and new that should offer a little something for everyone.
The lame extras are disappointing, but Spielberg’s quietly subversive political comedy receives an otherwise superlative transfer.
Promised Land evinces a pleasing but self-consciously torpid sense of the everyday.
Lincoln may further the heroism so associated with its subject, but it’s no bleeding-heart glamorization.
Beauty comes in all shapes and sizes, and Water for Elephants finds immense pleasure in juxtaposing extreme dimensionality with budding emotion.
A fascinating specimen of modern-day American power lust, a tragic moral lesson our financial players have yet to learn.
We lamely present you with a carbon copy of the SAG’s own nominees for Best Actor.
The film gets at something essential about man’s sense of his own dignity and the importance to the American notion of self.
Philip Seymour Hoffman and Tom Wilkinson will probably have to settle for the knowledge that their performances would’ve been slam dunks at the Emmys.
There is no category this year whose lineup—and winner—is closest to being set in stone than supporting actor.
Oliver Stone’s attack on the excesses of the Me Decade could easily be dubbed Mr. Smith Goes to Wall Street.
Greed may be good, but this anniversary edition of Oliver Stone’s humorless ’80s satire is exceedingly generous with extras.
Romanticization takes precedence over analysis in Sean Penn’s Into the Wild.